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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Rich Harrington: Now that we've got the multi-camera clip created, we just need to make a project. Remember, Final Cut Pro 10 goes off of the idea that there's one sequence per project. Robbie Carman: Right, and you're using events that can, you know, span multiple projects, multiple sequences, all that kind of stuff. So all we need to do is come down to the bottom area of the interface here, and go ahead and create a new project. And let's just go, go ahead and call this Jason Masi, or Rough Cut would be fine. Rich Harrington: ' Kay. Robbie Carman: There we go. Rich Harrington: I'll just be difficult. I'll call it Rough Edit. Robbie Carman: Sure, that works. And just go ahead and click OK. Rich Harrington: So we just leave everything on default, right? Robbie Carman: Yeah, I'm fine with default setting.
The only thing I might change here is I might just change the starting time code. It kind of drives me crazy coming from a broadcast world when things start at zero zero. Rich Harrington: Are you happy with one hour? Robbie Carman: I like one hour a little better. Go ahead and click OK. And here we go, here is our sequence setup. Rich Harrington: Yep. Robbie Carman: And all we need to do now is take our multi, multi-camera clip that we created earlier and, you know, again, you can notice that by the different icon in the upper left-hand corner. Rich Harrington: Yeah. Robbie Carman: Drop it right in there. Rich Harrington: Yep. Robbie Carman: And now it looks like a single clip. And just as we saw in previous weeks with Premiere Pro, and if you've ever used Final Cut 7 kind of the same idea.
That multi camera clip is going to be a single clip. Couple things we need to do to make this editable as a multi-camera clip. Rich Harrington: Yes. Robbie Carman: The first thing I recommend Rich is, go ahead, let's go ahead and hide our inspector. Rich Harrington: Cmd+4. Robbie Carman: Cmd+4 just so we get a little bit more room. Let's go up to the Window menu down to Viewer Display and let's go ahead and choose Show Angles. You could also use the keyboard shortcut, Shift+Cmd+7. Rich Harrington: Okay, and that brings those up, and we can make this other one a little smaller, right? We don't really need to see that very much. Robbie Carman: Yeah, absolutely. And again, we're at a, sort of a reduced resolution on the laptop here that we're recording on.
On a normal size screen this would work a little bit better, but, you can save some space that way for sure. Rich Harrington: So we also hid the event library there to make it a little bit smaller, and, that's about as big as we can make that window. It's not letting us drag over anymore, but that's okay. Robbie Carman: Yep. Rich Harrington: We got what we need. Now here's the deal, we set that music track as angle zero, and I know what those are. Robbie Carman: Those are the beeps, but you'll notice if you scrub your play head through this, right now, we have a problem, we're only seeing black, because of course the music track didn't actually have any video with it.
So, up there in our, in our angle view, you'll notice that the audio track is selected currently. Now, there's a couple buttons I want to point out, Rich. Rich Harrington: Yeah. Robbie Carman: That are really actually kind of important. Rich Harrington: These top three. Robbie Carman: Those top three. And that first button that looks like a film strip with a wave form on it. That actually allows us to switch audio and video together. Now that might work if you're doing something, you know narrative, or... Rich Harrington: An interview. Robbie Carman: An interview or something like that. Where you want to switch between different mics and switch the different video angles. In this case, because we have the clip track. Rich Harrington: Mm-hm. Robbie Carman: We probably only want to switch video only and that's that middle icon.
Rich Harrington: Now I want to make sure that angle zero is selected cause it's going to persist with that angle. Robbie Carman: Correct. Rich Harrington: So, it's really important that we go ahead and make sure we're on the right angle. So, in this case, the audio track, angle zero is the music only. I've got that selected when I switch over to switching the video angles, so now the audio track is going to persist. Now we've got all this stuff up front. We can get rid of that, right? Robbie Carman: Sure. Rich Harrington: So we'll just drag that up, right past those beeps. Robbie Carman: Yep. Rich Harrington: And I can just drag this to start, and it actually readjusted.
It snapped that timeline in. We'll just scroll down. There I go. And at this point, we're kind of good to go, right? We could switch angles, so we'll start on the master shot. Robbie Carman: Yep, that works. Rich Harrington: Let's just cue back up towards the beginning there, and we'll say, start on the wide. Robbie Carman: Yeah, and so what you're seeing in this multi angle view is that you can switch just like, you know, we did in other applications, or used to be able to do in Final Cut 7. You can click on the angle. But notice the two boxes there. The green is that persistence of audio from, angle zero that we created. And that was a click track. So green is going to represent Audio. Blue is going to represent Video.
Rich Harrington: Alright, so it looks pretty good here. And we can go ahead and use the Keyboard shortcuts. Now, what's interesting is, in my case, I had angle zero. Well, it treats that as angle one, technically. So, I'm using two, three, four, five and six, even though they're labeled one, two, three, four, five. Robbie Carman: Sure, and that, we could have just easily, when we created the multi camera clip. We could have put the audio at the end as well. Robbie Carman: Yeah, it doesn't really matter. Or you can click on 'em, so we'll start on that angle. It looks pretty good shape. I'll press the Space bar. Now in this case, we've got five angles of video.
Robbie Carman: Mm-hm. Rich Harrington: We've addressed this on an earlier show. I'm using a laptop, so I moved this media to the laptop's SSD drive. Robbie Carman: Yep. Rich Harrington: Good idea for Final Cut Pro 10, if you're going to have multiple video angles to consider getting that on a fast drive. Robbie Carman: Yeah, and another thing to consider, too is that, when you actually import the media into Final Cut Pro 10, you can actually create what's called proxy media, which is going to be lower bandwidth footage. If you're on a system that's not going to support the higher speeds needed for higher bandwidth media. Rich Harrington: And there are these background tasks, that could be happening where it's starting to transcode the media.
Robbie Carman: Yep. Rich Harrington: I'm generally going to go ahead and stop those so I can do my rough edit. It's creating optimized clips here. It's basically going to pro res and I don't want that right now, so I'm just going to stop, so it's not doing anything besides the multi-camera edit, and that'll make it easier for the system to keep up. Robbie Carman: Absolutely. Rich Harrington: So Space bar. And we'll just cut to some different angles. Little stuttery, but that's okay. That's just the drives keeping up. Robbie Carman: Yeah, and you'll notice that everything's in sync. But also notice, down at the time line, as you switch between these different angles, what's happening? You're adding cuts, but you're only adding cuts to the visual side of things, because you chose to switch or cut to the video only.
Rich Harrington: It's working well. We can cut between all the different angles, and of course, if we got something wrong, we could basically trim between those clips, making minor adjustments. Robbie Carman: Yeah, absolutely. And there's nothing saying that, you know, again, just like we've done before, if you make a mistake, you can't go back and trim or just do an undo and try and again. Rich Harrington: So I parked on that. I could go ahead and manually and click here and it would do an edit from that play head, or if you park on a clip and you decide that that was the wrong angle, maybe you just had a bad punch. Robbie Carman: Mm-hm. Rich Harrington: I can say, you know what, I want angle four, so I'll just right-click and say Active Video Angle is angle number four, and it updates.
Robbie Carman: Yep. Rich Harrington: So very simple to change after the fact if you decide you really didn't nail it, you can just move those edit points. Let's go here between two points that aren't the same and I could drag that until it feels about right. So there, I like that cut right there a little earlier. It looks like we just shifted a couple of seconds let's watch it. Little bit late, there was a bobble in the camera, so we'll just move that up a little. Robbie Carman: Sure. Rich Harrington: And let's try it again. That worked well. Robbie Carman: That works really great. Rich Harrington: Now Rob, we've been making these changes, obviously in this case, we fit six angles, but if we had fewer angles, or more angles, can't we adjust that window a little? Robbie Carman: You're right, Rich.
So if we come up to the Settings pulldown right here, I can choose to display two, four, nine, up to 16 angles here, but the cool thing is actually down here in the overlays, too. I can choose to display time code, if there's a valid time code on the clips. Rich Harrington: Yeah. Robbie Carman: And in the Display Name, I can say, hey, you know what, don't show me the angle, but actually show me the clip name. So if you've named the clip, say, Angle 1, Angle 2, Angle 3 or so forth, or maybe you named them the camera operator. Rich Harrington: Yeah. Robbie Carman: You know, a lot of people do that to name the clips. That would work as well. So, you can, I think you can see that it's a, actually a really straightforward process in Final Cut Pro 10 for multi camera editing.
And it's one that, in my opinion, has drastically improved, you know, people. Rich Harrington: Oh, yeah. Robbie Carman: You know, people you know, have sort of griped a little bit on Final Cut Pro. This is actually one of the speediest work flows, I think, for working with multi-camera footage, and... Rich Harrington: Compared to Final Cut 7, this is tons better than it ever used to be. Robbie Carman: Yeah, and, combined when we looked at, you know, the previous week when we looked at Premiere, now we looked at Final Cut Pro 10. The thing I'm really excited about for multi-camera work flow with both of these apps is how fast it is now with this automatic audio syncing. Instead of having to waste time, you know, doing things like, finding, you know, sync points and that kind of stuff, we can let the applications automatically do it, and guess what? It saves a lot of time, and if you do a lot of multi-camera work, that time really adds up rather quickly.
Rich Harrington: All right, so before you have your next multi-camera production, be sure to come back, check out the earlier weeks' classes, where we've looked at the whole production side of things. Rob's point of audio sync is very important, but remember, put that audio mic on the camera and you'll be a lot happier with the reference sound either Final Cut Pro 10 or Premiere Pro, both of them work well. Hope you enjoyed this look at Multi-Camera Editing. Be sure to come back in future weeks as we dig into more DSL work flow
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